The next cell on the right (32) has the Sermon on the Mount and the Temptation in the Wilderness. In the following (33), also double, besides the frescoed Kiss of Judas, are two minute pictures by Fra Angelico, belonging to an earlier stage of his art than the frescoes, intended for reliquaries and formerly in Santa Maria Novella. One of them, the _Madonna della Stella_, is a very perfect and typical example of the Friar's smaller works, in their "purity of colour almost shadowless." The other, the Coronation of the Madonna, is less excellent and has suffered from retouching. The Agony in the Garden (in cell 34) contains a curious piece of mediæval symbolism in the presence of Mary and Martha, contemplation and action, the Mary being here the Blessed Virgin. In the same cell is another of the reliquaries from Santa Maria Novella, the Annunciation over the Adoration of the Magi, with Madonna and Child, the Virgin Martyrs, the Magdalene and St. Catherine of Siena below; the drawing is rather faulty. In the following cells are the Last Supper (35), conceived mystically as the institution of the Blessed Sacrament of the Altar, with the Madonna alone as witness; the Deposition from the Cross (36); and the Crucifixion (37), in which Dominic stands with out-stretched arms. Opposite on the right (38-39) is the great cell where Pope Eugenius stayed on the occasion of the consecration of San Marco in 1442; here Cosimo the Elder, Pater Patriae, spent long hours of his closing days, in spiritual intercourse with St. Antoninus and after the latter's death. In the outer compartment the Medicean saint, Cosmas, joins Madonna and Peter Martyr at the foot of the Cross. Within are the Adoration of the Magi and a Pietà, both from Angelico's hand, and the former, one of his latest masterpieces, probably painted with reference to the fact that the convent had been consecrated on the Feast of the Epiphany. Here, too, is an old terracotta bust of Antoninus, and a splendid but damaged picture of Cosimo himself by Jacopo da Pontormo, incomparably finer than that artist's similarly constructed work in the Uffizi. Between two smaller cells containing Crucifixions, both apparently by Angelico himself (42-43--the former with the Mary and Martha motive at the foot of the Cross), is the great Greek Library, built by Michelozzo for Cosimo. Here Cosimo deposited a portion of the manuscripts which had been collected by Niccolò Niccoli, with additions of his own, and it became the first public library in Italy. Its shelves are now empty and bare, but it contains a fine collection of illuminated ritual books from suppressed convents, several of which are, rather doubtfully, ascribed to Angelico's brother, Fra Benedetto da Mugello.